'the proprietary impulse'

We moved here in February: books, tables, and a rack of clothes at one end of the stock truck, our horses tied at the back. There was a week of moonless nights but the Pleiades rose over the ridge like a piece of jewelry. Buying a ranch had sent us into spasms of soul-searching. It went against the bachelor lives we had grown used to: the bunkhouse-bedroll-barroom circuit; it meant our chronic vagrancy had come to an end. The proprietary impulse had dubious beginnings anyway—we had looked all that up before getting married: how ownership translates into possessiveness, protection into xenophobia, power into greed. Our idea was to rescue the ranch from the recent neglect it had seen.

—Gretel Ehrlich, The Solace of Open Spaces (1985)

The Immigrant's Prayer

Why did you come to the United States? Perhaps no one knows the real answer. I know that migrants, when they are still on their way here, learn the Immigrant's Prayer. A friend who had been aboard La Bestia for a few days, working on a documentary, read it to me once. I didn't learn the entire thing, but I remember these lines: "Partir es morir un poco / Llegar nunca es llegar"—"To leave is to die a little / To arrive is never to arrive."

—Valeria Luiselli, Tell Me How It Ends: An Essay in Forty Questions (2017)

A consolation tinged with melancholy

On out-of-the-way shores, local historians ply their craft. Their burden is giving form to little places in an era of massive forces and generalizations. Like folklorists or ethnographers, they strive to keep alive in memory ways of life and habits of mind that civilization no longer countenances. And their reward for doing so is carrying out the duty of their affection. Their passion for the meanings of small things forces them to deliberate not just on the fate of their beloved places but on all things human. Their faithfulness to home is a compass in a great and shifting sea. 

Although it forever moves between the ragged edge of contemporary change and the cutting blade of time, local history compensates its practitioners with the blessing of preserving and creating other lives, places, and times. Surely, to offer a consolation tinged with melancholy, there are less-worthy callings than giving fresh forms, however transitory they be, to the work and complex ways of human beings. 

Local history can also bless one with a passion and a mission. How can one measure the gift of being joined to a conversation one can't truly quit? How wonderful it is to be caught up with a hundred topics that need exploration and exposition!...The local historian's driving ambition is to record the manifold realities of the place one calls home.

--Joseph A. Amato, "Local History: A Way to Place and Home," Why Place Matters (2014).

We're leaning, but we're leaning on each other.

I once asked Paw why, given that he was feeling sick that day, he was planning to go to the funeral of an old woman he didn't know well.

"Respect," he said to me, slightly annoyed that he had to explain the obvious. "That family has lived around here for a long time."

It's hard to know these things, much less find the wherewithal to behave this way, if you haven't lived in a place for years and come to make its stories part of yourself. Absence has consequences.

"When a community loses its memory, its members no longer know one another," writes the agrarian essayist Wendell Berry. "How can they know one another if they have forgotten or have never learned one another's stories? If they do not know one another's stories, how can they know whether or not to trust one another? People who do not trust one another do not help one another, and moreover they fear one another. And this is our predicament now."

Those of us who have moved away are not necessarily callow and ungrateful people. We live in a time and place in which we are conditioned to leave our hometowns. Our schools tell our young people to follow their professional bliss,wherever it takes them. Our economy rewards companies and people who have no loyalty to place. the stories that shape the moral imagination of our young, chiefly by film and television, are told by outsiders who were dissatisfied and lit out for elsewhere to find happiness and good fortune.

During the decade leading up to Ruthie's death, I had spent my professional life writing newspaper columns, blog posts, and even a book, lamenting the loss of community and traditions in American life. I had a reputation as a pop theoretician of cultural decline, but in truth I was long on words, short on deeds. I did not like the fact that I saw my Louisiana family only three times a year, for a week at a time, if we were lucky. But that was the way of the world, right? Almost everyone I knew was int eh same position. My friends and I talked a lot about the fragmentation of the modern family, about the deracinating effects of late capitalism, about mass media and the erosion of localist consciousness, about the consumerization of religion and the leviathan state and every other thing under the sun that undermines our sense of home and permanence.

The one thing none of us did was what Ruthie did: Stay.

Contemporary culture encourages us to make islands of ourselves for the sake of self-fulfillment, of career advancement, of entertainment, of diversion, and all the demands of the sovereign self. When suffering and death come for you--and it will--you want to be in a place where you know, and are known. You want--no, you need--to be able to say, as Mike, "We're leaning, but we're leaning on each other."

--Rod Dreher, The Little Way of Ruthie Leming (2013)

Nothing is Dearer

The goddess Calypso kept me with her in her cave, and wanted me to marry her, as did also the cunning Aeaean goddess Circe; but they could neither of them persuade me, for there is nothing dearer to a man than his own country and his parents, and however splendid a home he may have in a foreign country, if it be far from father or mother, he does not care about it.

—Homer, The Odyssey (8th Century BC)